Movie City Indie Archive for February, 2013

“Bad Lip Reading” Goes Indie Spirit (2’06”)

I can imagine Tilda Swinton saying that.

Annapurna Pictures Raises A Beautiful, Declarative, Grandiloquent Middle Finger

Annapurna Pictures cuts together a brief, taut sizzle reel from its first productions, LawlessThe MasterThe GrandmasterKilling Them Softly, Zero Dark ThirtySpring Breakers, and does the litany of lines from them not sound like a bold declaration of intent? In part: “‘I’m bad news, I’m not your friend…’ ‘I knew y’all was special, it’s written on your faces…’ ‘Let’s cause some trouble now…’ ‘Don’ you ever touch me agin…’ ‘I just want to make something clear, there is nobody else, there’s just us…’  ‘Everybody’s miserable here, they just see the same things…’ ‘If we are not helping him, then it is we who have failed him…’ ‘Don’ make me laugh, I’m livin’ in America and in America you’re on your own.'” And to add one more: “Ye shall know them by their fruits.”


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Cinetic’s John Sloss On Oscar On Bloomberg (4’06”)

9 Best Drinks: RAISE ONE TO THE BEST PICTURE NOMINEES

The drinks menu at my fifth Academy Award-coinciding party (Cleo’s, 1935 W. Chicago Ave., Chicago)

A Trailer For An Issue Of A Magazine Themed To Film With “Raymondo Winstonio” (1’08”)

PORT / Issue 9 / Spring 2013 / Preview from PORT on Vimeo.

Genially, this is the equivalent of Ray Winstone binding himself in a three-piece suit and declaiming the phone book.

The Césars’ “Hommage aux disparus”: Those Who Passed In French Cinema 2012 (4’15”)

Veuillez installer Flash Player pour lire la vidéo

VICE shorts: Spencer Susser’s “I Love Sarah Jane” with Mia Wasikowski (14’39”)

“When you’re young and in love the air seems clearer, the sun seems brighter, there’s a spring in the step… But all can so easily go to shit especially with a zombie apocalypse involved.”

Bruce Willis On Oscars For Action Or Comedy

[GQ, March 2013.]

Red-Band Trailering Harmony Korine’s SPRING BREAKERS (2’04”)

The looping, fugue-style fashion of the film comes across cleanly in the compacted form of a trailer, conveniently enough. That, plus that “m” word.

Stream Shane Carruth’s UPSTREAM COLOR score

Lena Dunham: “It’s funny to me…”

[Rolling Stone Issue 1177.]

Donald Richie on AU HASARD, BALTHASAR (4’37”)

[Via Criterion.]

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima